I've recently set up a YouTube™ Channel, as there had been an embarrassment of recorded music from the past few years in raw, unexpurgated states, mixed-down & mastered, essentially languishing on hard drives in the garage & my resolve to conjure up homes for it all has been failing as of recent. That & it's mid-late 2018 & I'm feeling somewhat apathetic towards the idea of spending every waking moment of the next year+ assessing & massaging all of it into a series of commercial goods, so I've taken the high road & have begun uploading live sets, studio materials, artist talks & workshops, and more, all with accompanying videos. This feels a diplomatic way to both share & handle such a volume of work: a public airing, on demand. Please Subscribe, if you're at all inclined.

There are Playlists for Redactions, Generators, Playthroughs, and one called Asides for pieces that fall outside of any of the recent performance/recording solutions (such as this one, of which I'm rather fond; it's as if Esplendor Geometrico, Lego Feet, & This Heat's "24 Track Loop" started a wine-cultivating commune in the Alsace region) :

Note that I'm certainly not opposed to any of this being issued commercially, so please Get In Touch if you have any ideas on the matter, especially if they involve collaborating on the editing & assembly stages of any one piece or concept; both processes I feel that I'm well & truly past my prime & patience-reserves in attempting in a critical way. The performances & sessions audible above appear in their complete states, as they were captured, with all real-time decisions & situational artifacts left intact; they could use some pruning, for sure...

After a 10-month hiatus from performing (outside of my immediate neighborhood in Melbourne) I will return to the world's stage in late September, with festival appearances & solo engagements (all details TBA) already confirmed in Japan, Switzerland, Hungary, the USA, & Canada - then a 2 week pause, followed by - Portugal, Spain, & France.

If you are interested in hosting a performance of a "Redaction", an "Ultra-Generator", or even a "Playthrough" in either stereo or in a multi-channel array, please get in touch via the "Email" tab on this site; there are a handful of availabilities still in the late September / early October leg, as well as the late October / early November one. Consider that the cost & risk of flying from another hemisphere to perform a one-off will be greatly reduced; safety in numbers.

It's been interesting time, the past 6 years being an artist without a current, or even recent mass-market commercial recording out there in the aether. Incredible that I've still been able to continue doing what I love the most, which is traveling to perform music, without the regular noise of the music industry lapping at my heels. Which all makes the little bits of writing & whatnot people have recently conjured all the more rewarding; no one has been pitching anything on my behalf, meaning everything comes from the innate perspective & interests of a given writer.

I was surprised to find, when logging in to Bandcamp the other day, an image of my old Mackie Onyx mixer & scattered Intellijel array staring back at me adjoining the featured article on their homepage. Props to Leo Raymond for including me in his "Eight Contemporary Artists Making the Most of Modular Synth" article, through which I've seen & felt a sizable increase of traffic towards the offerings there, which I will now scramble to add to.

That same day, I received a cryptic request for an "image of your performing" from the Digital Photo Editor of The New Yorker; days later I was pleased to discover Joshua Rothman's lovely piece on my 2002 album "Playthroughs". If having my name translated into cyrillic for "Geometry of Now" was a career linguistic highpoint, the article's diaeresis - my first - easily trumps it. I'm super honored to be featured in the magazine; I've been an avid, regular reader for as long as I can remember, so this is huge.

Weird, sudden uptick in people writing in to ask if I'll resume performing the "Playthroughs" set piece, which I don't take as a rejection of my current music - easily the most satisfying of my career to perform, if neck & neck with the "Occlusions" for the most difficult - in as much as the newfound discovery of it by a current wave of explorers. In short: I have been; first at the Kranky 20th, then again at Barcelona's l'Auditori last year - this will resume later this year in Japan & Nantes - possibly more interests dictating.

Available now are a pair of recordings covering two realizations of the "Generator" piece as performed in Catalonia during May of 2017; physical, cassette-only edition via Broken-Music, digital version & the digital / cassette bundle via Bandcamp.

Return of the long-dormant Canadian Protracted View label; famous for the venerable "Synth Night" double-tape box (featuring early cuts by Oneohtrix Point Never, Carlos Giffoni, and Prehistoric Blackout) & my own "Live Generators (1)" & "Live Occlusions (1)" & "(2)" outings. This set offers the highlights of two extended, durational performances reviving the "Generators" framework (just shy of its 8th anniversary) executed during Spring of last year in the titular Catalonian cities; the former just after noon on the 21st of May inside Amposta's "Lo Pati Center d'Art Terres De l'Ebre" & the latter the day before as the sun went down outside of Lleida's "Centre d'Art la Panera".

Both begin with the familiar cascading Sample & Hold canons before a set of rapidly complicating, albeit cleanly sub-dividable rhythm-arcs & transpositions creep in; while the former set is augmented only by subtle audience interference & brief interjections of pre-recorded Concrète sound, the Lleida set goes one further by incorporating subtle real-time augmentations of the environment itself along with an almost linear, dance-floor ready coda incorporating primitive analogue drum synthesis.

At BOMB editor Andrew Bourne & frozen reeds proprietor Ian Fenton's behest, I wrote a little something about Roland Kayn, centered around the issue of the latter's "A Little Electronic Milky Way of Sound" 16-disc boxed set & digital FLAC package, one or both of which everyone should own and consume episodically. Here's a sip:

The Winter 2017-2018 Issue #142 is currently sitting on newsstands worldwide; I recommend that you read the magazine in a well-lit place away from your computer while consuming caffeine, as that is my personal preference. Aside from the fact that the quarterly has recently celebrated its 35th anniversary and is one of the last standing print publications with a 10k+ circulation covering contemporary art, music, and general transgressive cultural activity, this particular issue brings together several relevant ca. now threads, including pieces on Milford Graves, Jlin, Meredith Monk, Tuli Kupferberg's YEAH, and more. That said, the article can be read, along with most of this issue's content, on BOMB's site:

Kayn has been a central figure in my own artistic practice for the greater part of the past decade and research on him & Norbert Wiener in particular has been crucial in my current phase of delineating as much algorithmic control over formal tenets in music as possible.